My earliest recollection of Dizzy Gillespie comes, without a doubt, from “The Cosby Show.” Like a child, I was both overtly amused and implicitly scared of to the perplexing nature of this puffy-cheeked man.

The road leading from Gil Scott-Heron to W.E.B. Du Bois is paved with the theories of timeless thinkers and set to a soundtrack consisting of hip-hop, jazz, and funk. In changing the world of today into the society of tomorrow, we must remember to appreciate both.

Today, Robinson passed away at the age of 75. Her name is more likely to draw look of recognition from someone of my mother’s generation more so than my own. And yet, she is a figure who has in so many ways shaped my current investment in hip-hop music.

Whether it’s trunk-rattling bass from Oakland’s newest rapper or the the mellow sensations of beachfront jazz, California has an undeniable charm. This appeal comes from a long lineage of gifted artists ranging from Roy Ayers to the Pharcyde. Few, however capture this essence quite like musician Thundercat.

The art of covering is a complicated endeavor. It has the ability to alienate fans of the original artists, whilst creating a concrete standard of comparison. Most importantly, it demands an artist to be innovative using a product that already exists.

Our newest blogger for 70/30 (royayersproject.com) is editorial writer Paul Pennington, and in this article, he reflects and redefines the road of a great musical talent who recently lost her battle with addiction.